From his ‘Cornetto Trilogy’ (Shaun of the Dead, Hot Fuzz, The World’s End) to Scott Pilgrim vs. the World, some of the best recurring elements in the films of writer-director Edgar Wright are his memorable musical cues, often during action where the choreography is perfectly timed to the chosen song – think Shaun’s pool-cue-whacking of a zombie in sync with Queen’s Don’t Stop Me Now…

“I was going to say I’ve not been offered a musical, but that’s not true. I think if it was the right thing and I thought I could do it well, then, yeah, of course.” British writer-director Edgar Wright is speaking to us down the phone from LA. The current topic: how his movies, particularly Scott Pilgrim vs. the World and new film Baby Driver, often take on some of the cinematic language of musicals. “The thing about it with this movie,” he continues, “is doing some of that work in a completely different genre. Baby Driver is not a musical per se, but it’s completely powered by music…